Name: Lyto Triantafyllidou

Hometown: Thessaloniki, Greece 

Education: I studied theater at the School of Drama of Aristotle University of Thessaloniki, in Greece, with a major in theater directing and dramaturgy. After a year of academic research on New York’s avant-garde theater scene, I moved to New York for the MFA Directing program at The New School for Drama, from where I graduated in 2015.

Favorite Credits: In May 2016, I directed a solo performer adaptation of Mistero Buffo by Dario Fo, featuring Panos Vlahos, produced by Natasha Katerinopoulos. The first presentation of this work was a site specific performance at The Balcony Theater at West Park Presbyterian Church, in New York. Mistero Buffo’s journey continued with performances in Los Angeles, Chicago, Israel and the UK, where it was last presented at The Cockpit Theater in London, in February 2018.

Why theater?: Theater is the most unpredictable art, as it’s as imperfect as the people creating it. As a result, it constantly surprises us, keeps us in our toes. As a theatermaker, I enjoy the endless possibilities of an empty space. It’s a study on freedom.

Tell us about I Want a Country?: I Want A Country is the story of how to be a citizen of a country. Andreas Flourakis wrote the play as a response to the Greek economic crisis in 2012, while the country was in a political turning point. In Andreas Flourakis’ play the protagonist is not a single character but “we the people,” a public responding to times of social change. The characters of the play realize that their country is not build by them or for them. There is much to learn by observing them in their quest of a new country, and even more by their failure to find it. They don’t accept responsibility, instead they blame the previous generations, their government or the “others”. The truth is that their new country would be as broken as the old one. However, we need them to keep dreaming of this new world. Through Eleni Drivas’ translation and a diverse cast of actors, this production of I Want A Country connects the play with the current socio-political state of the USA and the popular demand for representation for all. This is the story I would like to share with FringeNYC’s audience through this play. It’s important in this particular political moment to accept defeat; and then speak, fight, dream!

What kind of theater speaks to you? What or who inspires you as an artist?: I am fascinated by theater that integrates political conflicts into the context of a personal story (and the opposite). This balance between public and private also contains the tension between objectivity and subjectivity. This double point of focus makes every story fragile and somehow more personal. Lately, the news unfortunately…

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with people from tech industry, in order to expand the limits of theater as we know it!

What show have you recommended to your friends?: The last show I recommended to a friend was Philip Glass’ Satyagraha, opening in November at BAM.

Who would play you in a movie about yourself and what would it be called?: I really don’t know… let’s wait to see!

If you could go back in time and see any play or musical you missed, what would it be?: Probably a theater piece of avant-garde theater. Cage’s Theater Piece No. 1, Schechner’s Dionysous 69 or Foreman’s Miss Universal Happiness.

What’s your biggest guilty pleasure?: I don’t feel guilty by any pleasure.

If you weren’t working in theater, you would be _____?: Sleeping earlier at night 

What’s up next?: A multi-lingual theater adaptation of Euripides’ Trojan Women, in English, Greek, Turkish and Arabic. I Want a Country runs until October 27 at The New York International Fringe Festival. More info at https://www.iwantacountry.net/

Name: Lisa Danielle Buch

Hometown: Farmington Hills Michigan

Education: MFA Acting Ohio University, BA psychology

Favorite Credits: Come back to me in 10 years :)

Why theater?: Woooo boy! Theater and story telling have a way of getting to your heart - it uses all parts of your brain- the audience and the actors- and the lessons learned are deeper as a result.

Tell us about Simple Math:? It has live music, a chalk board, and even a little chemistry. And a whole lotta me! But really, it is a lot more than an assault story. It’s an analytical look at the gray areas often considered “complicated”.

What inspired you to create Simple Math?: It was a slow build. First Weinstein fell. The metoo movement. Suddenly there was a new precedent forming. I heard the arguments and was compelled to fill that gap in people’s understanding of trauma-specifically the role it plays in sexual assault, and how it explains a victim’s/survivor’s behavior, both in the moment and post event.

What kind of theater speaks to you? What or who inspires you as an artist?: Very theatrical, engages with unexpected or uncommon subjects- where I feel like I’ve left changed.  Depends on the project. This piece, I was very inspired by Ke$ha’s newest album, Rainbow, Alicia Keys, Amy Winehouse, and the hard sciences :) and NPR or podcasts.

If you could work with anyone you’ve yet to work with, who would it be?: I’d make a musical with Alicia Keys.

What show have you recommended to your friends?: Dear Diary LOL - by a group called Antigravity based in Philly- a devised around young womens’ diary entries from when they were 13. It was a riot! And then struck you with these golden truth gems out of no where. It’s one of the best pieces of theater I have seen in a while.

Who would play you in a movie about yourself and what would it be called?: Stephanie Beatriz- but I’d audition many people - it would be called, "I Laugh" or "There’s Sooo Many Choices."

If you could go back in time and see any play or musical you missed, what would it be?: Maybe  original cast of Fiddler -  don’t know, I’m crazy about new works.

What’s your biggest guilty pleasure?: Stranger Things and hotel pools.

If you weren’t working in theater, you would be _____?: A detective, psychologist, anything in criminal justice.

What’s up next?: Hopefully another remount of Simple Math!

Name: Jennifer Piech

Hometown: Cinnaminson, New Jersey

Education: BA in Theatre from the College of William and Mary

Select Credits: originated the role of Kate McGowan, Titanic, Broadway (Friends of NY Theatre Award for Outstanding Broadway debut), The Ride Down Mount Morgan, Broadway (by Arthur Miller and starring Patrick Stewart)

Why theater?:  I have come back to the biz after a motherhood hiatus.  It’s been such a process figuring out what the biz is now and my new place in it in this stage of my life.  Fascinating.  I find I am drawn to plays/stories that tackle some kind of social issue with complex and interesting relationships.  I have always felt that good theatre can shed light on anything about the human condition, really.  I’m drawn to good writing and compelling stories.

Who do you play in The War Party?:  I play Laura Smith, the incumbent Senatorial Republican candidate who just lost the election in a landslide.  And I curse like a sailor – I am loving it.

Tell us about The War Party:  The short answer is it’s basically a parable for our broken two-party system.  It is also about these two broken, smart, fierce women and how they connect and how they give each other something the other needs.  They are better and stronger for being together.  Not to be Pollyanna, but it also, I think, makes us laugh at ourselves and both parties and asks us to look beyond partisan thinking for the sake of our country. 

What is it like being a part of The War Party?:  I love this play, the players, the creatives.  Odelia Avadi (who plays the young woman) and I started working on this play in scene study class and were encouraged to do something with it.  It is empowering to take an idea and put a team together and make it happen.  I am honored that the playwright entrusted it to us and am honored that these creatives – director, designers, etc., all loved it enough to throw their creative juices into it too.

What kind of theater speaks to you? What or who inspires you as an artist?:  Right now I want to be a part of plays that resonate socially – even if they are from another time period – that they speak to what is happening today.  Great writing, complex relationships, interesting ideas.  And I am completely inspired especially by women who are creative producers – who find the stories that are meaningful to them and figure out a way to tell them, in whatever medium. 

Any roles you’re dying to play?:  Right now:  Nora in Doll’s House Part 2, Tracey in SWEAT, Margaret in Good People (this one was produced when I was not back in the biz but now I’m the right age to play it!), anything by Shaw, Rosemary in Outside Mullingar (not really social issues but a beautiful love story, fun part), The Other Place by Sharr White, another play by Vincent Delaney that deals with gun violence, I’m shopping it around for a production now, etc. 

What’s your favorite showtune?:  Oh gosh, not sure I have a favorite…

If you could work with anyone you’ve yet to work with, who would it be?:  Joe Mantello as a Director, Tommy Kail, Director, Ken Lonnergan, Director,  Sam Mendes, Director, I could go on.  I want to work with the companies who are developing new plays, new voices, new playwrights. 

Who would play you in a movie about yourself and what would it be called?:  Oh goodness.  Well if a girl can dream – Sandra Bullock – and it would be called “A Balancing Act:  Act Two” as a woman tries to balance motherhood, being a real estate broker, and coming back to the entertainment biz after many of the folks she knew died – literally.  It’s starting over but not starting over in a weird way.  It would be about discovering what she was meant to be now at this stage, finding her voice, while still making dinner and doing everyone’s laundry, of course.  Bullock would have the sense of humor needed:).  And dang, she’s cute.

What show have you recommended to your friends?:  A show that is playing now?  I really liked “The True.”  Beautiful performances, New Group producing it.  Of course, Come From Away (I am a Co-Producer on it!), Harry Potter – loved!  The Ferryman – which I haven’t seen yet, but it’s a great read and I can’t wait.

What’s the most played song on your iTunes?:  anything from Hamilton.

What’s your biggest guilty pleasure?:  Chocolate turtles.  I ALWAYS have emergency chocolate in my freezer at all times because you just never know.

What’s up next?:  I’m working with an independent Producer, Stephen Blanch, on his full length feature film called "Discovering Savannah" (I’m cast as Savannah – my first lead in a feature!) which is set to shoot spring of 2019. 

For more on The War Party, visit http://thewarpartyplay.com/

Name: Deya Danielle Drake

Hometown: Oh boy! We moved a lot growing up so this has always been a tough question to answer.  I was born in Carson City, Nevada and then spent time in Texas, Nebraska and Illinois and I went to college and started my career in California. I guess I consider wherever I’m currently based to be home.  Which, right now, is Jersey City. 

Education: University of California, Berkeley.  I studied Philosophy.  I remember very little of it other than a lot of reading, writing and existential confusion.  (Not that different from now, I guess.)

Favorite Credits: My first professional theater credit was as an actor in Romeo and Juliet: Antebellum New Orleans 1836.  Many, many years and lifetimes ago but I still think about the experience and the people involved all the time.  I even have literal dreams about it! It was the inaugural production at Boston Court Pasadena in Pasadena, CA. I played Rosaline and was in the ensemble (so, yeah, no lines) but it was such a wonderful experience. I was so young and just felt so incredibly lucky and energized to get to go to work in a professional theater everyday and hang out with cool theater people. I got chills during every performance. The best memories!

Why theater?: Initially I think it was the sense of camaraderie you get from creating something from nothing with a group of unique individuals who share a likeminded goal.  I imagine it’s similar to the feeling one gets from playing on a sports team (though, I’m not an athlete, so this is just a guess). As I’ve gotten older my drive to make theater goes far beyond that.  I don’t even know where to begin.  There’s truly nothing like it—the sense of play, exchange of energy, exploration of humanity, power to connect with other people and (hopefully) make them feel something surprising. I think the potential impact of theater, on an audience, is boundless – it can be entertaining, healing, resurrect long forgotten memories, shine a light on a new part of oneself, help problem solve, open connections, spark conversations, ignite new ideas and new perspectives, provide an escape ;)…etc etc etc…I’ll stop now. (P.S. it’s super fun to make.)

Tell us about Escape?: Escape follows a female airline CEO and female flight attendant who battle to control the narrative of a sensational news story following a violent incident onboard a commercial jet.  It’s about the constant and overwhelming noise of the modern news media, the dubious impact of social media, and the unique struggle women face when trying to reach/maintain positions of power. It’s a fast moving play that’s fun and kind of wild and I think everyone will leave with a different opinion about who’s right and who’s wrong. 

What inspired you to create Escape?: An amazing actress named Rhonda Ayers whose work I have admired for a long time.  I’ve never seen anyone like her and I think more people need to see her work.  I wasn’t sure what I wanted to write about when I sat down to write this play, but when I decided that I wanted to create a vehicle for her, Escape is the story that followed.  (I hope I’ve done her justice.) Rhonda plays the airline CEO and she is incredible.  Complex, smart, with a biting wit and fearlessness, and deep internal life that she teases on and off throughout the show until she’s ready to serve it all to us piping hot. 

What kind of theater speaks to you? What or who inspires you as an artist?: I was just talking to another writer about this.  I love the kind of theater where all the actors end the performance sweating through their clothes, completely exhausted, and in that strange state of bliss that comes from leaving it all out on the stage. When an actor is required to give that much of themselves, physically and emotionally, to a performance, it is nearly impossible for the story not to have a lasting impression on the audience (in one way or another).   Vulnerability. I’ve been in an improv based acting class called Ballistics with Kelly Kimball at Kimball Studio in NYC for a long time. It’s a class for actors and non-actor creative type people, and it is so much more than just an acting class. It teaches you to use and challenge the bounds of your imagination by pulling back the layers you’ve built to protect yourself in the world and get to the core of who you are so that you can find yourself as an artist. And you can’t be successful in doing that unless you take risks. People share a lot in class.  The courage to share and be seen by other people is truly amazing.  Watching other people do that is beyond inspiring. I wouldn’t have the guts to be a writer without this class, it’s really shaped who I am and who I hope to be. 

If you could work with anyone you’ve yet to work with, who would it be?: The list is long, but I would say my top three at the moment are: 1. Marin Ireland, 2. Elizabeth Banks, 3. Viola Davis. 

What show have you recommended to your friends?: Hand to God. Such creative storytelling and epic performances. Since becoming a mom sixteen months ago, I read more plays than I see.  There are so many incredible writers out there.  There isn’t a play that I’ve read that hasn’t taught me something about storytelling. 

Who would play you in a movie about yourself and what would it be called?: Cate Blanchet.  Because who wouldn’t want Cate Blanchet to portray them in a film?  It would be called Late Bloomer (oh, God, that’s so cheesy). 

If you could go back in time and see any play or musical you missed, what would it be?: I regret not seeing the original cast of Hamilton on Broadway.  Lots of FOMO about that (does FOMO make sense in the past tense?).  And I’d really like to share a cocktail with Tennessee Williams and talk writing and life.

What’s your biggest guilty pleasure?: Sweets. Wine.  And I discovered the true (and kind of dirty) joy of reality TV over the summer.  I didn’t miss an episode of Bachelor in Paradise.

If you weren’t working in theater, you would be _____?: In a dream universe I’d be traveling the world and doing a lot of eating and drinking and sleeping in.  In a realistic universe I think being a nurse would be really fulfilling and I have a ton of admiration for nurses.  They’re badasses and help us during our most vulnerable moments -- sometimes the kind of moments that are life-altering and life-shaping. And they are mostly really lovely humans. 

What’s up next?: I’m working on a play about a married couple who goes on vacation to one of those over-the-top romantic retreats in the Poconos.  It’s a fun play that explores modern romance and the connection between sexuality and creativity while challenging what we mean when we talk about a “traditional” marriage. 

Fore more on Escape, visit http://www.deyadanielledrake.com/escape/

Name: Dominick DeGaetano

Hometown: West Babylon, NY

Education:  BA, George Washington University; MFA, Stony Brook University

Favorite Credits:  This is my first production as a playwright! I’ve mostly been doing the development circuit, but I’ve also had the privilege of working in the background to bring some amazing projects to life, like working on the NYC team for Broken Bone Bathtub in 2016 and Book Assistant on Bridges of Madison County during its Williamstown run.

Why theater?: Lots of reasons! Superficially, as someone with the attention span of a gnat, I like turning my phone off for an hour and having some constructive silent thinking time along with a few dozen strangers. As a writer, I like sitting down with an idea and attacking it from multiple angles, which theater allows you to do. And sentimentally, growing up as a young guy, theater is one of the few socially acceptable places for you to have feelings. And I have a lot of feelings.

Tell us about Turing Test: Turing Test is the 70s sci-fi thriller I’ve always wanted to make. It’s about a poet that is forced to take part in a secret government experiment to teach a computer how to write poetry. However, the computer starts getting its own ideas, which makes trouble for everyone. It’s smart and thrilling, but with a heart; think Westworld meets Dead Poets Society. Taylor Edelle Staurt, our director, and I have assembled one of the best teams I’ve ever worked with on this. It’s going to be something really great.

What inspired you to create Turing Test?: A lot of things! I always write toward a feeling, something I’m trying to figure out. The core of this play is that feeling that the world just wants to crunch you down into a number and smooth off your rough edges. That’s something plenty universal, and something I’ve struggled with a lot.

What kind of theater speaks to you? What or who inspires you as an artist?: I like anything that challenges me not only with content, but with form. I think the Aristotle-Brecht binary is played out, and I’m looking for things that radically reconfigure how I think about what theater is. That’s not necessarily technical stuff like what Andrew Schneider does, or immersive stuff like Houseworld (though both are pretty awesome). I mean, Annie Baker’s John also blew my mind, and that’s all script-based. I’m just looking for good ideas to steal, and they can come from anywhere. I’m a big fan of reading anything I can get my hands on; that’s usually where the ideas come from. Another thing is crossing mediums; most of the important lessons I’ve learned about writing come out of playing guitar badly. Failure in general, and giving yourself permission to “be bad” at things, is a huge source of inspiration.

If you could work with anyone you’ve yet to work with, who would it be?: Lighting designers are the alchemists of theater to me: I don’t know anything about how they do what they do, but when they do it right, it turns a bunch of people in costumes into a thing of beauty. So, I’d love to work with the big guns, like Don Holder, and make some of that magic happen.

What show have you recommended to your friends?: I mean, there’s a ton of great artists doing work at this year’s FringeNYC festival. Personally, I’m pumped to see Jessica Creane’s Chaos Theory, which is gonna scratch both my left- and right-brain itches. Outside of Fringe, Caitlin Saylor Stephen’s When We Went Electronic at The Tank (my favorite arts org in NYC) looks awesome, and also looks like it’s the vanguard of late-2000s nostalgia, which makes me feel old.

Who would play you in a movie about yourself and what would it be called?: Instead of a movie, can Taylor Mac do a pageant? I can only trust judy to make the life story of a white cis hetero dude from Long Island who moved to Brooklyn truly fabulous.

If you could go back in time and see any play or musical you missed, what would it be?: A bit of a theater-kid deep cut, but I would have loved to be at Playwrights Horizons on the day they put “Finishing the Hat” into Sunday in the Park with George.

What’s your biggest guilty pleasure?: I’m Italian-American, so it’s carbs, cannolis, and The Sopranos.

If you weren’t working in theater, you would be _____?: Doing more canvassing for the November elections! I’m particularly excited by my hometown hero Liuba Gretchen Shirley, who’s working to unseat an incumbent who’s been in office for as long as I can remember.

What’s up next?: I’m in post for a short film, "Emma on the Roof", which I co-wrote & co-directed with the brilliant Maureen Monterubio. Look out for that to hit the festival circuit next year!

For more on Turing Test, visit https://www.turingtestfringe.com/

Name: John Ahlin and Christopher Patrick Mullen

Hometown:
JA: Born in Houston Texas, Moved to New York when I was 6 months old.
CPM: Raised in Malvern PA, lives in Brooklyn New York.

Education:  
JA: Graduate of Syracuse University
CPM: BA, DeSales University

Select Credits: 
JA:  Appeared in Journey’s End, The Lieutenant of Inishmore, Waiting for Godot among others on Broadway, as Orson Welles in Orson’s Shadow Off-Broadway as well as appearing in the Coen Brother’s "Inside Llewyn Davis".
CPM: West Side Story (1st National Tour); The Runner Stumbles (Off-Broadway revival); Metamorphoses, A Little Night Music, Candide, Assassins, Macbeth with the Arden Theatre Co and over 50 productions with The Pennsylvania Shakespeare Festival and People’s Light.

Why theater?:
JA: Strangely I never intended to be in theater, I wanted to be what is perhaps the opposite of an actor; a forest ranger.  I fell into theater kinda by accident and never looked back.
CPM: My sister made me perform pantomimes when I was seven and it became my life.  My only other temptation was baseball but I didn’t grow fast enough.

Who do you play in ChipandGus?: 
JA: I play Gus, a very established yet troubled, lonely Professor of Philosophy who is hiding from a lot.
CPM: I play Chip; a forty something journeyman musician, between jobs, between girlfriends, between domiciles and about to walk off a plank.

Tell us about ChipandGus?:
JA: It is about two guys who meet once a month to play ping pong, and they meet it a rundown game room off of a rundown bar in an Upstate college town.  They are acquaintances not friends, and on this one night something happens to change their relationship forever.  And they really play ping pong.  It is fast, funny, surprising and cathartic and quite unlike any other play.

What is it like being a part of ChipandGus?:  
JA: We are the writers, directors and performers so it is a little like being a Queen in Chess who can move twice in a row, it is like having ultimate power, being able to change a line at will or simply keep tweaking something until it is exactly what we want.
CPM: It’s like tap-dancing while playing an 80 minute scene.

What kind of theater speaks to you? What or who inspires you as an artist?:
CPM: When I go to theatre I want to go for a ride, and everything that goes with a ride, the dips and turns the “oh, no, oh no we’re not going to be taken there are we?!”  And I need a window in, something that hits me, and I prefer theatre with a giant window or many windows so everyone, even a child has way in.  The beauty of ChipandGus is that it has a universal window in, the simple game of Ping Pong. Something so basic we all can relate, and it is the starting point for this amazing ride that Chip and Gus go on and take the audience with.
JA: I love when characters have to face great and grand questions, when their humanity is called upon.  As a playwright I am always looking for the way to freedom, the way to an ideal coexistence…and of course humor and wit are this magic world, a dimension that I love to explore.

Any roles you’re dying to play?:
JA:  I’ve played Falstaff 11 times and I’d happily do it 11 more, but the part I’m dying to play is Sheridan Whiteside in The Man Who Came to Dinner.
CPM: Two come to mind for me; Harold Hill in The Music Man and Cyrano, oh, but my dream role is Bill Snibson in Me and My Girl.

What’s your favorite showtune?: 
JA: Impossible to answer but an example of how I listen is to find recordings, say “Some People” from Gypsy by Angela Lansbury, Patty Lupone, Tyne Daly, Bernadette Peters and Liza Minelli and listen to all five in a row. (My favorite?  Drum roll………..Liza, by a mile, committed, raw and brilliant!)
CPM: Wow, so many…I can’t name one…“Send in the Clowns” is so sentimental, I can’t…this is…oh alright “Shipoopi”, there, both ends of the spectrum. Wait, can I add Hello Dolly’s “Put on Your Sunday Clothes” and from Fiddler: “Little Chavala” and the “Dream.”
JA: Sorry I have to stop you.

If you could work with anyone you’ve yet to work with, who would it be?:
JA: At this point there are several directors I’d love to work with, Jack O’Brien, Daniel Sullivan, David Saint, Doug Hughes, etc.
CPM: My friend Rob McClure.

Who would play you in a movie about yourself and what would it be called?:  
JA: It would be called "Get the Laugh" and I would be played by Oliver Hardy striking out on his own (without Stan Laurel).
CPM:  I would be played by Robert Downey Jr and it would be called "The Walking Cautionary Tale."

If you could go back in time and see any play or musical you missed, what would it be?:
CPM: I would want to see the first performance of Hamlet.
JA: I would go back to the Globe and see Shakespeare’s Henry IV parts one and two.  Or see the Marx brothers during one of their live Vaudeville shows.

What show have you recommended to your friends?:
JA: Jerusalem by Jez Butterworth is the one I recommend but I certainly would recommend ChipandGus.
CPM: I recommend Something Rotten.

What’s your biggest guilty pleasure?:
JA: I collect little figures; toy soldiers, cartoon characters, and small super heroes.
CPM: Red wine and classical music.

What’s up next?:  
JA: After ChipandGus finishes in the Fringe Encore Festival I’m off to Shakespeare Theatre of New Jersey to do A Child’s Christmas in Wales.
CPM: Every Christmas Story Ever Told at the Orlando Shakespeare Theatre.

For more on ChipandGus, visit http://www.fatknighttheatre.org/

by Kaila M. Stokes

Held, written by Kelly Maxwell, was a musical fantasy alright. Set in the cabaret style venue of Drom, this dark yet flirty musical was a solid attempt. The plot revolved around Korin, played by Hannah Ripp-Dieter, a “dreamer” that can fulfill others dreams. The downside of this amazing talent is that everyone eventually leaves her to pursue these dreams and she refuses to be abandoned by her only friends, Mera and Bardo. Mera, played by Katie Bakalars, is a warrior and her dream is to fight for her town and families’ honor. Bardo, played by Alex Van Handel, is a goofy yet endearing friend that is a baker and is in love with Korin. So what does one do if she doesn’t want to be alone? Korin builds a wall and claims that it was a sorcerer who has trapped them. The only way out is for Korin to die. Will her friends kill her to escape?
The best part of Held was when the cast of three was singing. All three had gorgeous voices and the harmonies were flawless. There should have been more of it for this reason. The opening song, while sung beautifully, was a bit confusing. It did not set up anything for the audience – since no one knew the plot yet, it was confusing to hear the end of the plot sung at the beginning. It was clear what the attempt was, but a song that set up the characters and their purpose for being in front of us would have served the audience more.
Held was a mix of "The Giver" meets "Game of Thrones" meets No Exit. The plot had its flaws, but the music (written by Meghan Rose) performed by the live pianist, bassist and cellist was remarkably beautiful. The plot’s biggest flaw was that the character Korin was not likeable from the beginning; it emerged too quickly that she was unhappy and jealous of her friends. The writer could have developed the story a little more – make it more apparent why the audience should like Korin. The director, S.C. Lucier, utilized the entire venue which was fun to watch. Since it was a cabaret style room with spread out cocktail tables, it was a delight when the cast ran through the audience. Some of the locations were revisited throughout the show, like the stream, but these could have been identified a bit more. Material could have been used for the stream as well as other props the actors could have handled to better identify time and place. Since the director had such beautiful actors and music, each piece of staging should have been a picture and instead it was a little unclear and static at times.
The costumes, by TDF Costume Collection, made each character easily identifiable and they were beautiful. The idea of utilizing the tools provided in the theatrical community is brilliant. The lighting was simple. Since there was hopping back and forth between times and place the lights certainly could have been better utilized with color, type of lighting and light/dark. It seemed to be a general wash the whole time which made it a bit confusing at times when the actors were in a different time or place.
The actors were remarkable singers, but since the plot developed so quickly, it was hard for them to grasp their characters it seemed. It is not a bad thing for an audience member to want more plot. Held was musically beautiful, but left the audience wanting more…more plot development, more character development and more of a punch on those important lines/moments. It should certainly be done again, maybe added to and directed with more importance. Korin was made to be the main character, but maybe it is more of an ensemble piece. It would definitely be worth another viewing.

By Michael Block

We all love “The Sound of Music.” We all likely can sing the entire score if we were asked to. But did you ever wonder what life is like off camera while Maria and the von Trapp brats were singing? That’s the premise of Andrew Bergh’s ambitious The Radicalization of Rolfe. Paralleling the action of “The Sound of Music,” Bergh’s play follows young, impressionable Rolfe Gruber, the object of Liesl von Trapp’s affection, as he comes of a certain age while going in and out of the closet. It also shows the art of manipulation in a time of constant fear and uncertainty. We learn that Rolfe, alongside the von Trapp family butler Franz, is being controlled by a man named Zeller to gather intel on Captain von Trapp. Meanwhile, Rolfe is learning about himself through the intimacy of a young man named Johan Scmidt, the nephew of Frau Scmidt, the von Trapp family housekeeper. Call it “The Sound of Music” version of Clybourne Park. Though that may be giving Bergh a little too much credit. No matter what, The Radicalization of Rolfe is an interesting angle of a lesser-shared narrative utilizing a well-known story. But it completely confuses the tone. “The Sound of Music” is light and frothy. Yes, the backdrop is dark but that’s not what audiences remember. Bergh’s play gets tonal confused as the only moments people laugh are through the well-timed references to the score. If we’re supposed to find light in the situation, Bergh truly needs to go further with the humor. As it stands now, laughing at anything else is near impossible.
A reason for the lack of comedy could be that the play was painstaking too slow. Director Abigail Zealey Bess absolutely needed to bring a metronome into rehearsal and make her company pick up the tempo. Zealey Bess smartly moved from scene to scene without a large scenic shift. It also meant that we were forced to stare at those awful chairs for the entirety of the show. The black chairs with red cushions were the right color scheme but the specific chairs looked sad. The costumes from Audrey Naman were just right. They honored the history of the time.
Sometimes casting is everything. In the titular role, Logan Sutherland was picture perfect. With sunny naivety mixed with undeniable confidence, Sutherlands’ play on morality was exquisite. The breaths leading into Rolfe’s big decision were heartbreaking. If ever there was a performance to put him on the map, this was it. Logan Sutherland is a name to remember. Dominic Comperatore had crippling cruelty as Zeller. There was a seduction in Comperatore’s words. Jay Patterson as Franz balanced the character well, though a bit more animosity and resentment for younger superior would have raised the stakes.
The Radicalization of Rolfe is a brilliant concept that wasn’t as well executed as it needed to be. No matter what, there’s no way to stop it. We won’t be saying good bye or farewell to this play anytime soon.

By Michael Block

There are certain ingredients that make up a pop star. It’s mainstream formulaic. But sometimes there comes an artist that breaks the mold. They may not see the light of radio glory but they garner a following. Say hello to gay pop superstar Johnny Darlin, the brainchild of Michael Doshier. In Johnny Darlin: In the Closet, Doshier puts on a concert as Johnny Darlin with interludes of the voices of the Queer South recanting their stories as members of the LGBTQ community. This is more concert than theatrical event but Doshier has the ingredients to push it toward the latter. Doshier sets up his evening by performing song after song, with those necessary diva costume changes. If he’s playing a persona, he might as well offer more interaction. Educate the audience on the origin of the songs. Describe how Johnny Darlin is like the voice of the Queer South. Explore just exactly how he came out. Providing more of a story within the already extraordinary material will absolutely enhance this production. We can see there’s a story inside Johnny, it’s time for the story to come out! The desire for more comes from the fact that Michael Doshier as Johnny Darlin is raw talent. He is a profound storyteller and an astonishing vocalist who doesn’t need to hide behind any autotune. Between professing his love for Olly Alexander to getting down in a cubicle, his music is exhilarating and dance-inducing. So much so he had two talented backup dancers in Alberte Nilausen and Quenton Stuckey bopping to Pia Vinson’s choreography. While the theatrical through-line from song to interlude could have been tighter, Doshier’s ability to jump from upbeat entertainment to moving lyrical sweetness was effortless.
There was a giant team behind Johnny Darlin: In the Closet that it’s hard to pinpoint where exactly credit is to be given. Regardless, this team should be proud of the physical product. If the goal of a concert is to entertain, they succeeded.
What makes Johnny Darlin unique is the ability to be the glam pop star that he is. There are certainly performers who fit that mold. Kylie Minogue and Lady Gaga to name a few. But the male vocalists who can reach those falsetto high notes in glam rock rarely get their moment in the spotlight. At least the mainstream spotlight. Johnny Darlin has the potential to break the mold. That wasn't sweat dripping down, it was accomplishment.

By Michael Block

If you went looking for a clean piece of theater, you would be greatly disappointed at Sex, Cynicism, and Other Small Miracles. What you will experience is a theatrical concert hybrid that mixes spoken word with a hipster rockabilly vibe. Written and performed by Lachlan the Bray and Garrett Riley, this evening is nothing short of energetic. Lachlan the Bray is billed as the Australian Country Boy while Garett Riley as the Urban Vagrant. Though hopeful extensions of themselves, these personas lead the audience through three acts, and a prologue, of thematic poetry and rock and roll. Thankfully, the team put a title list in the program to help guide the evening, though you would figure out the shifts as each set had a new costumed look. There was a clear curation to the piece but the trouble is that for the majority of the audience, this is the first time the words are hitting their ear. Clarity was not a friend of Sex, Cynicism, and Other Small Miracles. Especially in song. That’s not to say the material wasn’t captivating. It was just difficult to grasp.
Director Mia Romero helped shape the night by attempting to keep the energy up. But there certainly were some dips. The interludes between sets allowed the musical assistants, Mark Goodwin on drums and Alex Farrell on bass, to get a moment in the spotlight. But the reality is that their solos went on a bit too long. Whether it was to cover up the costume change or to give Lachlan the Bray and Garrett Riley a breather, it needed to be shrunk.
Sex, Cynicism, and Other Miracles is an interesting selection for a mostly theatrical festival. Yes, it’s something unique but if from a production standpoint, there needs to be something else to string the night along.

By Michael Block

Claire Christine Sargenti transports the audience right into the French Quarter in her smoky solo drama Interludes: A New (Orleans) Play. In a city fond of the dead, the spirit on stage very much alive. And so is Sargenti's story. Intertwining the denizens of New Orleans, Interludes is sensual and seductive. From musicians to preachers, Sargenti portrays the passionate people with big easiness. She allows her story to unravel slowly. It's not until quite late that the connections truly come to light. It's when the connections are made that new life is breathed into Interludes. Even if it means dropping subtle hints earlier, rewarding the audience is essential. Helping the audience to feel like their in on the piece is beneficial in the long run. As a performer, Sargenti lives in subtleties. With the number of characters she tackles, had there not been costume assistance, they may have blended together. Moving forward, finding a bit more differentiation will be greatly advantageous.
The pulse of Interludes: A New (Orleans) Play is the live band that accompanies Sargenti. It’s a brilliant addition, setting the piece apart from the rest. Led by composer and drummer Darrell Smith, the Interludes Jazz Orchestra is astonishing. If you closed your eyes, you may have believed that you were partying on Bourbon Street. The sound was pure New Orleans soul.
New Orleans is an inspiring city. Many writers have paid homage to it and there is a reason for it. Claire Christine Sargenti has something special on her hands. She’s a smart author with a knack for character.

By Michael Block

It's official. Dave Droxler has figured out how to get your project funded. Claim Christopher Walken is involved! Walken On Sunshine is a fluff comedy that knows what it is and never strays. The farcical play is mindless fun and entertainment about determination. Brothers Gavin and Quinn are trying to make a movie. They have a script. They have a lead. All they need is the money. After reading an article about Christopher Walken never turning down a project, Gavin accidentally tells a giant fib to their future investor, who also happens to be the boss of the girl of his dreams. With well-timed references and non-stop laughter, Walken On Sunshine honors the classic comedies we know and love. If you're a theatergoer looking for substance from a play that forces you to think, Droxler's play is not it. But who says that's what theater has to be all the time. You certainly could take the time to over-analyze Droxler's text but where's the fun in that? Just come for a laugh! When Droxler tried to be too smart, he hit some roadblocks. And that came through the unclear devise of Narrator. Partially playing narrator and scene or costume change cover, her purpose in this world was never defined as much as it needed to be. If she is only a device for Gabin, she shouldn't have been included in the actual scenes as characters.
As bright of a writer as Dave Droxler is, this play thrives on the incredible ensemble. Comprised of Maggie Carr, Droxler, Jennifer Fouche, DeLance Minefee, Paul Pakler, and Jonathan Spivey, this is the definition of unity. Even when someone breaks, the energy remains and cue is picked up after the laughter ceased. Droxler is a brilliant physical comedian. His brand of funny is not something we see nowadays but he reminds us why we need it back. The superstar of the production was by far Paul Pakler. From his mannerisms, physicality, and characterizations, Pakler is reminiscent of the brilliant Martin Short. That is a collaboration that needs to happen. The voice of Jennifer Fouche is worth the price of admission. She has pipes!
Director Marcus Stevens kept the comedy flowing. It was a strong decision. His prime focus seemed to allow his company to go big to cover up the little holes. The staging was tight. Literally. Soho Playhouse served as an obstacle course for the cast at times. The inclusion of live music played and composed by James Rushin was the icing on the cake. This play may have faltered without it. It assisted in keeping the tempo constant.
Walken On Sunshine is fun, fun, fun. And that's all you can ask for. Does this play survive a future without Dave Droxler in it? That's a giant question mark that may have an unfortunate answer. There are very few people who can do what that talent can do.

by Kaila M. Stokes

Inheritance is a one-woman show that portrays the soul of a beauty whose previous generations haunt her own present. Jessica Wanamaker, writer/director/actress of Inheritance, gave a stunning portrayal of this woman. It felt so honest and personal that one can only assume it is about her own life. From the moment Jessica stepped on stage, she transformed into every character she was portraying. Generations were connected through every wrong decision in each of their lives. How much pain can one person take? If you’re a woman….a lot.
Jessica begins with her great great grandmother, an Irish lady with a nasty husband who was even nastier to his own daughter (Jessica’s great grandmother). This is the beginning of a cycle for the woman in Jessica’s family. What follows abusive husbands and boyfriends is rape, abortions and death. At first Jessica wanted to break the cycle, forget her past and forge ahead! But without the past, one couldn’t have a present and certainly could not forge ahead to the future. Instead, she sits in her past for a while, ruminates in its smells, tastes and desires. She then poses these questions to the audience; what makes us female, why does history repeat itself, what are the gender norms? All of these questions are very prevalent in society today, references to current events were made throughout which gave her message a sense of urgency as well. As a woman, these questions are hard to ignore since everyday our choices mean more than a man’s because woman have consequences that men could not fathom.

photo by Dixie Sheridan

Jessica is each generation and acts out each event, including a paralyzing representation of rape. The message is clear from beginning to end and for that alone, Inheritance should be applauded! Throughout the piece as she became different people, Jessica stripped a layer of clothing off. This was such a bold and defining choice. There was no set, no visual metaphor, so she used her body as the physical metaphor. The stripping off of cloths was the flaking of layers of generations and of choices her previous ancestors made. Jessica was making a choice to go through these layers, not around, and take them off only after she understood that person fully. It was beautiful.
Inheritance was so simple, so naked and exposed that the audience felt like they knew this actress on stage. It was as if Jessica and all in the audience had been best friends for years, usually you are before someone shares those intimate moments in their life. But without being friends, Jessica bared her soul onstage. The ending should not be given away, but let’s just say, the timing of that news was perfect. Inheritance is highly recommended and if you can, see it with someone you love. What do you do when the past haunts you? You live!

By Michael Block

In Jesse LaVercombe's hyper ambitious solo work Love Me Forever Billy H. Tender, the audience is thrust into the future to watch the lives of three relatives unravel. Billy H. Tender is a former teen pop star turned kinky folk singer-songwriter. He makes a triumphant return at the dismay of his fans that don't like this new version. His mother is trying to keep her life afloat as she works as a phone sex operator. And this leaves Hal, the youngest son and brother alone. Metaphorically and physically. LaVercombe's visceral play is unique in the sense of approach. LaVercombe has versatility as a performer. Through his speech, musicality, and movement, he showcased his vast skills. Yet when it came to character, he didn't necessarily create distinct characters in the common sense of a solo play. Rather than gender-bending, for example, he focused more on the cadence and pitch. It was a subtle choice that didn't necessarily hinder the storytelling. Where Love Me Forever Billy H. Tender could be improved is perhaps recanting the mystery of the evening solely through the eyes of Hal, LaVercombe's strongest and most captivating character. The action of Billy and Stella directly affect Hal and may not need to be seen. It would help to hone in and streamline the piece.
Love Me Forever Billy H. Tender thrives on precision. It's so tightly directed by Adam Lazarus that one miscue has the power to derail everything. Lazarus took LaVercombe's script and elevated the material in a manner some solo works never achieve. By physically tightening the play, an immediate intimacy confined LaVercombe in the best way possible. The hanging fabric panels forced him into periodic stillness that brought out his words. The sound by Adrian Shepherd was sharp and redolent.
Love Me Forever Billy H. Tender is a play geared best for the millennial mind frame. It's a play for taste. If the text isn't to your liking, Jesse LaVercombe's performance must be.

By Michael Block

To start, Ben Holbrook has written a sensational script. Sinners on a Southbound Bus is an example of perfectly dangerous theater. Holbrook's play follows a pair of runaways on a bus as they try to evade the cops. On their journey they meet passengers that force the question of right and wrong. The overlying question is who has the power to decide when it comes to morality. Holbrook's text is biting. Where there's cynicism there's tenacity. He smartly avoids preaching by providing all angles of the conversation with ease. The characters may not be filled with depth but they are engaging.
Even though it's a single scene play, Sinners on a Southbound Bus is a challenge on the stage. Even in minimalism, style is essential. Director Phoebe Padget created the bus through rows of mismatched folding chairs. At first glance, you'd never know it was a bus. This meant Padget had to tell the story through staging. Marrying real movement within the style. Unfortunately it wasn't enough. She made it seem as if these people were stationary. Throwing in some bumps on the road was essential. Helping to show that walking on a moving bus is not that easy was crucial. Additionally, actor David Bell had the hardest job as the bus driver. He truly also had the most important job. Not only did he have to "drive" the bus, he had to drive the style. Unfortunately it didn't happen the way it needed to happen. Yes, the reality of driving includes moments of keeping the wheel in place but to create movement in stillness, it must be overplayed. And by placing him on a dominant corner of the stage, your eye naturally looked toward him.
When it came to acting, this play was dominated by Morgan and Silas played by Michael Coppola and Nabil Traboulsi respectively. It was their story. Coppola had strength yet was held back in clarity with diction issues in accent. Traboulsi was a pent-up ball of anger. And it was exhilarating to watch explode. It’s a shame his character saw an early demise. The hero of the play was Scott Brieden as Officer Triplett. The gag was fun, adding much needed lightness in the play. But Brieden still managed to find variety in similarity.
Sinners on a Southbound Bus is a script to keep an eye on. Ben Holbrook has written a masterpiece. But this production proves that it’s a difficult play to stage.

By Michael Block

In Kevin R. Free's campy comedy Night of the Living N Word, Free delivers a powerful message straight to the gut. Barbra, a white woman, brings her black husband, son, and father-in-law to her family's plantation to celebrate her son's birthday. And to stage an n-word intervention. But who is really getting an intervention? With comical twist after comical twist, some more ridiculous than the last, Night of the Living N-Word is a tour-de-force comedy with a biting commentary. Free has the ability to entertain while informing. The themes and topics Free introduces are hurled through comedy allowing the audience to truly take it in in entertaining fashion. Sometimes laughing at society packs more of an impact. Even through silly, convoluted plot lines, Free’s message is present, reverberating when you least expect it. But Free runs into a bit of trouble. He starts off setting the pace as a laugh-a-minute comedy but when the jokes disappear, the momentum drops. This happens when the tone starts to shift. Finding a way to balance the two is essential for the overall arc.

photo by Isaiah Tanenbaum

Night of the Living N-Word featured strong direction from Nicole A. Watson. Watson had a strong vision that propelled the action forward. With the festival setting being a hindrance, Watson and her team decided to play with simplicity. The black and white props from Joshua Coakley were a beautiful touch. It helped bring out the comedic elements of Free’s text. Though creating a giant plantation on the stage of the Players Theatre is near impossible, Watson did her best to mock the lack of environment.
Night of the Living N-Word featured a top-notch cast of comedians. Led by Eevin Hartsough as Barbra, Hartsough managed to incorporate the campy nature of a slasher film with the conviction of her character. It was a fantastic vehicle for Hartsough. As her husband Ben, Free took a step into his own play. And it was a rare occurance that worked. Stanley Wayne Mathis and Aaron Parker Fouhey as Clayton and Channing respectively added a wonderful kookiness to their characters.
If you’re someone who likes to laugh at society, you’ll certainly enjoy Night of the Living N-Word. It will likely make you uncomfortable. And that’s the point.

By Michael Block

A troupe of strolling of players take over the 14th Street Y to share a history you likely had no clue about. Ed Malin's The Troubadour Struck By Lightning explored the gay history of the 13th through 15th centuries. With modern sensibility and an innate sense of theatricality, The Troubadour Struck By Lightning featured many ideas in one. The Troubadour Struck By Lightning is a difficult text. It has to do the job of entertaining while informing all while keeping clarity in the forefront. Jumping around from time and place, Malin's play follows the many lives of the homosexual persuasion in a time where any inkling of the lifestyle was forbidden. From a musician who takes up with royalty to the sausage party deep within some hallowed halls, Malin finds the humor inside. The bawdy comedy had room to go raunchier. In fact, it was greatly desired. Sex sells! The modern references Malin sprinkler into his text were quite wonderful. Nothing beats the "Blinded By the Light" moment. It's just one of the many moments that showcased Malin's intellect.
The biggest obstacle Ed Malin, director Janet Bentley and The Troubadour Struck By Lightning team faced was the space. They were dealt an unavoidable disadvantage. This is a play that was intimate and the vastness of the 14th Street Y was detrimental. With a literal bar between actor and audience, the fourth wall-breaking element was lost. From a design standpoint, there were many discrepancies, mostly through costume. By not having two players in period-inspired garb, the costume design lost a bit of credibility. The starting image needed to have the entirety of the company in or out of player costume. What worked wonders for this production was the integration of live music. He helped to create the world and keep the piece lively.
The ensemble did their best to combat the woes of the stage by becoming a tight ensemble. Though there were some strong individual performances, The Troubadour Struck By Lightning was truly a team effort.
There is incredible richness in Ed Malin's text. The festival setting sadly got the best of them. No matter what, this is an important history that deserves theatrical attention.

By Michael Block

With comedy like "Veep", drama like "Scandal" and Sorkin-esque wisdom and sensibility, Dream Ticket by Ryan Bernsten is an aptly timed political play. Republican Senators Leslie Sugarman and Becky Roberts are battling it out for the nomination for President. After spewing insults and personal jabs, the pair decides to team up to create the ultimate dream ticket. The catch is the duo has an intimate history they must keep covered up. With political scandals running ramped, can the deceitful Republicans win the race? Bernsten's play is sharp. His writing his quick. His characters are rooted in stereotypes. It works for this piece. While poignancy was present, Bernten's platform was first and foremost to entertain the masses. And he did that. While it have relevancy outside this political climate? That's debatable.
Taking on these large personas allowed this company to brave politics through humor. As the grounded Leslie Sugarmn, Chris Payseur had a demeanor like Toby Zeigler from "The West Wing." As his rival-slash-running mate Becky Roberts, Amy Lee Pearsall made a Southern monster that you loved to hate. Similarly, Olivia Jampol's Darla finger was brash and outlandish. If ever there was done ripe for a spinoff, it's Jampol and Darla Finger. Taking a stab in his own play, Bernsten was adorably bro-tactic. Bernsten’s Ty Chadwick had no credibility, capturing the millennial spirit.
Kristin Skye Hoffman smoothly staged the production, allowing the momentum to rarely falter. With all the moving parts on wheels, Hoffman's transitions were fast. The costumes from Laurel Livezey were perfectly rooted in Americana. Solid reds and blues tend to be the go-to for politicians so having Leslie in a patterned tie that strayed from screaming politician was a bit problematic.
Dream Ticket is a gentle reminder that if enough people believe the conviction, you may have to settle for the lies you asked for. Let's hope the Dream Ticket mirror doesn't reflect this November.

Name: Dennis Williams AKA Destiny Devine.

Hometown: Queens NYC

Education: High school Diploma | AMDA Graduate | Two-year, Theater Conservatory, Certificate Program.

Select Credits: Some of my favorite credits are, Ken in Smokey Joe's Cafe, and Jimmy Early in Dreamgirls.

Why theater?: I really feel like theater is a place that you can really express yourself, but also inspire others around you to follow their dreams.

Who do you play in the production?: My role is Young Miss Counterpoint. Young Miss Counterpoint is the younger and fiery side of older Miss Cunty Counterpoint.

What is it like being a part of That's MISS FITS, to YOU!?: To me, it's truly a lot of fun. I love to play a younger version of such a strong and seasoned character, in the script and real life.

What kind of theater speaks to you? What or who inspires you as an artist?: Musical Theater really speaks to me. I really love how it all tells a story through music, dance and emotions. I love being able to inspire people through creative arts, so I love any type of theater that inspires people to love themselves and follow their dreams. Beyonce inspires me as an artist. Not just because she is amazingly talented. But because she is an artist and truly creates with all different things and parts of the world. Not just what people expect from her.

Any roles you’re dying to play?: I am dying to play Lola in Kinky Boots, Richie in A Chorus Line and Seaweed in Hairspray.

What’s your favorite showtune?: One of my favorite show-tunes in "Being Alive" from Company.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to work with of course, my beloved Beyonce.

Who would play you in a movie about yourself and what would it be called?: I would play a successful artist and entrepreneur and it would be called "Simply Devine."

If you could go back in time and see any play or musical you missed, what would it be?: The Jackie Robinson Musical called The First.

What show have you recommended to your friends?: Of course one of my favorites right now, actually two, That's Miss Fits, to You!, and of course Kinky Boots.

What’s your biggest guilty pleasure?: Latino men :)

What’s up next?: I have a lot of things in store, but I don't like to kiss and tell, so if your interested you can learn more at www.destinydevine.com

Name: Geovanny Fischetti

Hometown: Phillipsburg, NJ

Education: Performing Arts High School

Who do you play in The Illusory Adventures of a Dreamer: Actor 2: Solveig, Man in Green, Anitra, Nurse

Describe your character(s) in three words: Solveig: Sincere, Sweet, Loving; Man in Green: Confident, Strong, Self-Absorbed; Anitra: Playful, Submissive, Passionate

Tell us about The Illusory Adventures of a Dreamer: It’s a contemporary and fresh exploration of the adventures of Peer Gynt. Peer’s romantic/sexual interests come to the forefront in finding himself (along with a few other sexy characters).

Describe The Illusory Adventures of a Dreamer in three words: Sex. Truth. Acceptance.

Who is the biggest liar?: Eddie for saying he is a human. Clearly he is too fab.

Who is the biggest troll?: Nick for his vivid sense of humor.

Who is the sexiest?: Molly. She is a fierce mother f*cker.

Who is the most mischievous?: Gerardo. Gives me a mischievous vibe.

Most likely to go on an adventure?: Scott, since he is always venturing through parks howling at the moon.

Most likely to get caught up in a cult?: Maddie for super cute and sweet people.

Which bandana best describes you?: I’ll leave you all guessing.

Favorite (gay) bar in NYC: Never been to a gay bar in NYC. I’m a bad gay lol

Fun, laughs, or good time?: Laughs 100 %

Do you talk to yourself in a mirror?: Sometimes ;)

What is your favorite moment in The Illusory Adventures of a Dreamer: Definitely the super sexy dance.

What is the most rewarding thing about being a part of the Dreamer team?: Working with such fun, talented actors and the creative team. Making memories through rehearsal and improving as a person/actor.

Why should we come see The Illusory Adventures of a Dreamer?: It’s extremely sexy, heartening, funny and relevant. To add to that, the show is well written and very well cast.

For more on Geovanny, visit geovannyfischetti.com  

The Illusory Adventures of a Dreamer is part of the 20th Annual New York International Fringe Festival! Performances dates are Saturday, August 13th at 9:30pm, Tuesday, August 16th at 5:00pm, Monday, August 22nd at 4:45pm, Wednesday, August 24th at 7:00pm, and Saturday, August 27th at 1:30pm. All performances will be at Venue #1: Teatro SEA (107 Suffolk Street). For tickets, visit fringenyc.org

For more on The Illusory Adventures of a Dreamer, visit dreamerplay.com. To support and donate to the project, please visit gofundme.com/dreamerplay